?ts' 




Class _^l£2^2^. 



CDRfRIGHT DEPOSIT: 



THE PORTRAITS OF ALBERT GALLATIN 



Books on Art 

Sy A. E. QALLA TI:N^ 



^ 



Booh marked with an asterisk are 
in print and are published by I'he 
John Lane Company, New Tork 



March 11917 



Books on Art 

Aubrey Beardsley's Drawings: A Catalogue and 
a List of Criticisms 

Jfith hitherto unpublished drazving's and portraits. 1903. 

Whistler's Art Dicta and Other Essays 

With facsimiles of letters and drawings. 1904. 

Whistler: Notes and Footnotes and Other Memo- 
randa 

(Whistler, Childe Hassam, Leonardo and Puvis as caricaturists, 
etc.) Illustrated. 1907. 

Modern Art at Venice and Other Notes 

Illustrated. 1910. 

Whistler's Pastels and Other Modern Profiles 

(Whistler, Ernest Haskell, Zorn, Winslow Homer, "Max," 
Everett Shinn, etc.) Illustrated. 1912. 

*The Same. New Edition 

Enlarged. 1913. 

*The Portraits and Caricatures of James McNeill 
Whistler: An Iconography 

Truentif reproductions., ten hitherto unpublished. 1913. 

Notes on Some Rare Portraits of Whistler 

With six hitherto unpublished portraits. 1916. 

* Certain Contemporaries: A Set of Notes in Art 
Criticism 

(William Glackens, Ernest Lawson, John Sloan, Walter Gay, 
Steinlen, etc.) Illustrated. 1916. 



The Portraits of Albert Gallatin 

Three reproductions^ after Sharpies^ Stuart and Peak. 1917. 

Taul Manship: A Critical Essay on his Sculpture 
and an Iconography 

Illustrated. 1917. 

Vermeer of Delft 

Illustrated. 1917. (Jn preparation?) 

Extrads from Reviews 

Whistler's Pastels and Other Modern Profiles 

Mr. Gallatin is always a welcome essayist, not only in his genial and 
enthusiastic style, but in his capacity for finding much interest in the by- 
ways and less frequented paths of artistic achievement. His is the pen 
appreciative that finds either a new and admirable phase to admire in 
the work of a much-known artist, or that discovers a less-known artist 
outright and allows us to share in the fruits of the discovery. His criti- 
cism is selective to a degree — even captious at times — with the fortunate 
result that such gleanings in the field of art as he chooses to present to 
the public are always worthy of the public's most polite attention. . . . 
For short and distinctly illuminating flashes of genius these scattering notes 
make an enjoyable bit of reading. Mr. Charles Matlack Price in Arts 
and Decoration, JVew York. 

Mr. Gallatin, need one say, has an uncommon talent for crisp comment, 
for catching the essential quality of a thing of art in a brief, sensitive 
phrase. It is a remarkable thing to concentrate such a variety of skilled 
characterization of artists so diverse in so few pages. Mr. Richard Le 
Gallienne in The International, JVew York. 

The Portraits and Caricatures of 
James McNeill Whistler : An Iconography 

This carefully framed iconography is a solid achievement for which every 
coUectorofWhistlerana will be duly grateful. . . . Altogether Mr. Galla- 
tin has distinguished himself. Mr. Royal Cortissoz in JVew York Tribune. 

An iconography to be prized by every one interested in the most renowned 



of American artists, and one that would be sufficiently entertaining and 
enlivening to any observer keen to note character in physiognomy. Miss 
E. L. Gary in JVew York Times. 

Scholarly and endlessly interesting. . . . Will always have authority 
among collectors and always be delightful to look over. Scotsman, Edin- 
burgh. 

Mr. Gallatin's little volume shows a great deal of research. He has a 
happy faculty of expressing himself with clearness and brevity and his 
descriptions are admirable. TVanscrifit, Boston. 

Mr. Gallatin's iconography will prove an invaluable book of reference and 
mine of knowledge. Academy, London. 

This iconography is a masterpiece of completeness and should be in the 
possession of every sincere admirer of Whistler. Arts and Decoration, 
J^Tenv York. 

Certain Contemporaries 

Mr. Gallatin's style is most finished and his point of view delightfully 
individual, therefore each volume which bears his signature is a welcome 
addition to our American literature on art. Intimate personal reflections 
made thoughtfully and by one of keen perception, and exceptional gift. 
Such comment as he makes, whether adverse or favorable, is invariably 
friendly. It is this kind of criticism which is most stimulating and at the 
same time most rare. American Magazine of Art. 

Mr. Gallatin is always readable and insti-uctive, for he is among the few 
writers who combine brilliant expression with sound exposition of artistic 
principles, and can convey solid facts with epigrammatic charm and terse- 
ness. . . . An attractive addition to Mr. Gallatin's brilliant series of mono- 
gi-aphs. The Connoisseur. 

A ringing tribute to American achievement in art and should accomplish 
much in widening appreciation of our contemporaries. The author has 
chosen a group of individual men, who have stepped out from the aca- 
demic. JVe-TV York Evening Globe. 

If brevity be the soul of wit (which here signifies intellectual acumen) 
Mr. Gallatin's writings fall within the meaning of that saying. JVew York 
Herald. 

A note of real distinction in the multitudinous literature of art. JVeiv York 
Times. 



The Merrymount Press, Boston 



y 

THE PORTRAITS OF 
ALBERT GALLATIN 



AY*E; GALLATIN 



PRIVATELY PRINTED 
1917 



.6 



COPYRIGHT, 1917, BY A. E. GALLATIN 



/ 



/ 

APR -4 1917 ■ 






\^ 



LIST OF PLATES 

Facing page 
I. FROM THE PASTEL BY JAMES SHARPLES 3 

Met7-o/iolitan Museum of Art. Hitherto un/iublished 

II. FROM THE PAINTING BY GILBERT STUART 4 

Metrojiolitan Museum of Art 

III. FROM THE PAINTING BY REMBRANDT PEALE 8 

Inde/iendence Hall. Hitherto un/iublished 



ALBERT GALLATIN 

[ This biographical note consists of extracts from Henry Cabot Lodge's 
article on Albert Gallatin in the eleventh edition of the Encyclo/isedia 
Britannica; it is largely based on the lives of Gallatin by Henry Adams 
and John Austin Stevens. ] 

Albert Gallatin was born in Geneva in 1761. 
^'The Gallatins were both an old and a noble 
family. They are first heard of in Savoy in the 
year 1258, and more than two centuries later they 
went to Geneva [1510). . . . Here they remained, 
and with one or two other great families gov- 
erned Geneva, and sent forth many representatives 
to seek their fortune and win distinction in the 
service of foreign princes, both as soldiers and 
ministers. On the eve of the French Revolution, 
the Gallatins were still in Geneva, occupying the 
same position which they had held for two hun- 
dred years." 

Gallatin" was thoroughly educated at the schools 
of Geneva, and graduated with honor from the 
college or academy there in 1779/' A year later 
he embarked for the United States. ^'A competent 
fortune, good prospects, social position, and a 



[ viii ] 
strong family connection were all thrown aside in 
order to tempt fate in the New World." 

In 1801 Jefferson was elected President and 
chose Gallatin to he his Secretary of the Treasury. 
" Wise, prudent, and conservative , Gallatin made 
few changes in Hamilton's arrangements , arid for 
twelve years administered the national finances 
with the greatest skill." 

"In June, 1812, Congress on Madison's recom- 
mendation declared war against England." Gal- 
latin '^grasped eagerly at the proffered mediation 
of Russia, and without resigni?ig the treasury, 
sailed for Europe in May, 1813. Russian media- 
tion proved barren. . . . The English and Ameri- 
can commissioners finally met at Ghent, and in the 
tedious and irritating discussions which ensued 
Gallatin took the leading part. . . . Peace was his 
reward; on the 24<th of December, 1814, the treaty 
was signed. . . . Gallatin in July, \S\ 5, returned 
to America." 

" While still in Europe he had been asked by 
Madison to become minister to France; this ap- 



pointment he accepted in January y 1816, and ad- 
hered to his acceptance in spite of his being asked 
in April, 1816, to serve once more as Secretary of 
the Treasury. He remained in France for the next 
seven years. He passed his time in thoroughly con- 
genial society y seeing everybody of note or merit in 
Europe." 

In 1826 John Qiiincy Adams sent Gallatin 
to England as minister, where he remained until 
November, 1827, when he returned to the United 
States and bade farewell to public life. 

" Taking up his residence in New Tork, he was 
in 1832-1839 president of the National Bank 
[afterwards the Gallatin Bank) of New Tork, 
but his duties were light, and he devoted himself 
to the congenial pursuits of science and literature." 
He died in August, 1849, and was buried in the 
graveyard of Trinity Church, New Tork. 

" Gallatin was twice married. His second wife , 
whom he married in 1793, was Miss Hannah 
Nicholson, of New Tork, the daughter of Commo- 
dore James Nicholson, an American naval ojfficer. 



commander-in-chief of the navy from i777 until 
ijSi .... By her he had three children, two sons 
and a daughter." 

^^He stood, with Jefferson and Madison, at the 
head of his party , and won his place by force of char- 
acter, courage, application and intellectual power. 
His eminent and manifold services to his adopted 
country, his great abilities and upright character, 
assure him a high position in the history of the 
United States." 



INTRODUCTION 

THE most important portraits of Albert 
Gallatin are those which have been pho- 
tographed for this book: the paintings by Gil- 
bert Stuart and Rembrandt Peale and the pastel 
by James Sharpies. They are not only authentic 
likenesses, having been painted from life, but 
they are by artists of recognized ability and, at 
least in the case of Stuart, of genius. It is evident 
by comparing these three portraits that Gallatin 
sat for them at the same period of his life. The 
Sharpies was undoubtedly done during his first 
term as Secretary of the Treasury under Jeffer- 
son's administration, say in 1802 or 1803. The 
Peale portrait it is known was painted in Febru- 
ary, 1805, and the Stuart was done about 1803. 
Stuart lived in Washington from early in 1803 
to about 1805 ( see Mason's The Life and JVorks 
of Gilbert Stuart). None of these portraits is 
signed, it not being the custom of these artists 
to do this. 

The miniature by Henriette Rath , painted from 



Cxii] 
life, on the occasion of Gallatin's visit to Geneva 
in 1815, after having concluded the signing of 
the Treaty of Ghent, is worthy of special note. 
Other portraits possessing interest, and also 
made from life, are the silhouette cut in 1806, 
the two bas-reliefs in wax, the drawing by John 
W. Jarvis, and the daguerreotype by Anthony, 
Edwards and Company. Nothing is known of 
the present whereabouts of the miniature by 
Thomas Gimbrede, the daguerreotype by Chil- 
ton and Company, or the painting by Alonzo 
Chappel ( not painted from life) ; they are known 
to us only through engravings. The contempo- 
rary stipple engraving by W . R. Jones, after Gim- 
brede, is not without interest. Some importance 
should be attached to the first of Daniel Hunt- 
ington's portraits (17), owing to the fact that 
he knew Gallatin, and painted this picture with a 
clear memory of his appearance, very soon after 
his death. The portrait by William H. Powell 
claims our attention insomuch as it was painted 
from life, six years before Gallatin's death. 



[ xiii ] 

The statement made in A Great Peace Maker, 
the Diary of James Gallatin, that the Munier- 
Romilly portrait was painted in Geneva in 1815 
is certainly incorrect. It is the portrait of a man 
about twenty years older. For one thing, in the 
miniature by Rath, which is dated 1815, Galla- 
tin's hair is black, while in the Munier-Romilly 
it is white. At the moment of going to press I 
am informed that this picture is believed to be 
owned by Madame Ernest Dunant, of Geneva. 

William Dunlap, in his History of the Rise and 
Progress of the Arts of Design in the United States 
(New York, i834),vol.ii,p. 32,speaksof a por- 
trait of Albert Gallatin painted by John Vander- 
lyn, a commission from Aaron Burr. Nothing is 
known of this painting. 

A number of portraits listed are entirely de- 
void of any merit, either artistic or historic; it has, 
however, been thought best to include every- 
thing, for purposes of identification. 



THE PORTRAITS OF 

ALBERT GALLATIN 




ln4 l^wmed QMKirpled 



THE PORTRAITS OF 

ALBERT GALLATIN 

[Note. The words ''right" and "left" refer to the right and left of 
the sfiectator. Canvases have been measured without their frames J\ 

1. Artist: JAMES SHARPLES 

Pastel^ on paper. 

The portrait is a half-length, seen in profile, facing 

to left. The sitter wears a black coat and striped 

waistcoat; the background is blue. 

Height, 9^8 inches; width, 7^ inches. 

Property of the Metropolitan Museum of Art, New 

York (gift of Josephine L. Stevens, 1908). 

Miss Stevens is a granddaughter of Albert Gallatin. 
An article on "The Sharpies Crayons," written by J. W. 
Palmer, appeared in Lippincotfs Magazine, December, 1871. 
The author speaks of this portrait as being ' ' among the por- 
traits identified and perfect." 

iJames Sharfiles, or Sharfiless, as he sfielled his name during his 
visit to America, was born in England about 1751. In 1796 he 
went to .'America, where, until his death, which occurred in 1811, 
he occupied himself with draiving the portraits of the foremost 
Ainericans. His /lortraits are very highly considered. "The col- 
ored crayons, which he manufactured himself, were kept finely 
powdered in small glass cups, and he applied them with a cameVs 
hair pencil."^ 

1 A. Pastel., by James Sharples 

A replica of above portrait. 

Property of Bristol Art Gallery, Bristol, England 



[4!] 

(permanent loan from the Bristol Fine Arts Acad- 
emy) . 

Bequeathed by the artist's widow in 1 849, with fifty-six other 
portraits by Sharpies. 

It was Sharples's custom to make copies of his portraits, which 
he retained himself; other copies were sometimes made by his 
\vife or his son. 

1 B. Photogravure 

Engraved from a photograph of the pastel by 
Sharpies (the version in the Metropolitan Museum 
of Art). 
Height, 5% inches; width, 4f^ inches. 

Published in this book. Inscribed : " Albert Gallatin | by James 
Sharpies." 

2. Artist: GILBERT STUART 

Oily on canvas. 

The portrait is a half-length, seated, facing to left. 
The left hand holds a letter. He wears a black coat 
and white neckcloth ; the background is red, as is 
the back of the chair. 
Height, 29^8 inches; width, 23% inches. 
Property of the Metropolitan Museum of Art, New 
York (gift of Frederic W. Stevens, 1908). 

Extract from The Life of Albert Gallatin, by Henry Adams, 
page 301 (Philadelphia, 1880) : "It was at this period of his 
life [about 1 803] that Gilbert Stuart painted the portrait. . . . 
Mrs. Gallatin always complained that her husband's features 



[5] 

were softened and enfeebled in this painting until their charac- 
ter was lost. Softened though they be, enough is left to show 
the shape and the poise of the head, the outlines of the features, 
and the expression of the eyes. . . . Unless Stuart's hand for 
once forgot its cunning he saw in Mr. Gallatin's face a capacity 
for abstraction and self-absorption, often if not always, associ- 
ated with very high mental power." 

This portrait is mentioned in the will of Albert Gallatin, as 
follows: "I also bequeath to her [his daughter Frances] my 
portrait by Stuart during her lifetime and after her decease to 
my grandson Albert, son of James." His grandson died be- 
fore his daughter and the portrait went by will to the former's 
wife, who sold it to Frederic W. Stevens, another grandson, 
who presented it to the Metropolitan Museum of Art. 

iGilbert Stuart was the greatest of the early American fxortrait 
fiainters. Born in 1755, Stuart went to London atthe age of twenty, 
where he studied under Benjamin West, and where he remained 
for seventeen years. He met with great success, receiving commis- 
sions from many of the celebrities of the day ; George III and the 
future George IV were among his sitters. Stuart's /iort?-ait of 
Washington is one of the fe%v accefited likenesses. His "original 
coloring and technique, and his insight into character, make him 
one of the greatest portrait fiainters of his time.'" His death oc- 
curred in 1828.] 

2 A. Lithogi-aph., by Canova 

Based on the painting by Stuart. 
Height, 5'Vi6 inches ; width, 6>^ inches. 

With facsimile autograph. Signed by Canova and inscribed : 
"Painted by Stewart [«c]. Lithography by Imbert." This 
lithograph was printed and published by Anthony Imbert {circa 
1830). Only the head and shoulders are shown. 



C 6] 

2 B. Engraving on steel 

Based on the painting by Stuart. 
Height, 3' Vi6 inches ; width, 2'5/i6 inches. 

With facsimile autograph. Engraved for The Life of Albert Gal- 
latin, by Henry Adams. Reprinted for Proceedings of the Third 
Annual Convention of the Pennsylvania Bankers' Association 
(Philadelphia, 1898), which contains an article on Gallatin 
written by William H, Rhawn. Only the head and shoulders 
are shown ; vignetted. 

2 C. Photogravure 

Made from a photograph of the painting by Stuart. 
Height, 4^ inches ; width, 3^ inches. 

With facsimile autogi-a ph. Published in the large paper edition 
and the Standard Library edition of Albert Gallatin, by John 
Austin Stevens, in American Statesmen Series. The portrait is 
very much cut down, 

2D. Photogravure 

Made from a photograph of the painting by Stuart. 
Height, Sy^ inches; width, 4Vi6 inches. 

Published in Financial New York. The proofs, without facsim- 
ile autograph, are signed in pencil by William Sartain. 

2 E. Half-tone Engraving 

Engraved from a photograph of the painting by 

Stuart. 

Height, ^ inch ; width, fs inch. 

Published in The Rise and Vicissitudes of the United States (op- 



[ 7 ] 
posite page 27), by James A. McCormick (Syracuse, New 
York, 1903). 

2 F . Line Engraving 

Engraved from a photograph of the painting by 

Stuart. 

Height, 4 inches; width, 3>^ inches. 

Published in University Quarterly, November, 1880 (New York 

University). 

Inscribed: "From the original painting by Gilbert Stuart. | 

Albert Gallatin | First President of the Council of New York 

University." 

2 G. Line Engraving 

Engraved from a photograph of the painting by 

Stuart. 

Height, 1^ inches; width, \% inches. 

With facsimile autograph. Published in The National Cyclopae- 
dia of American Biography, yo\. iii, p. 9 (New York, 1893). 

2 H. Half-tone Engraving {in colour) 

Engraved from a photograph of the painting by 

Stuart. 

Height, 2'5/i6 inches; width, 2% inches. 

With facsimile autograph. Published in A History of the United 
States and its People, by Elroy McKendree Avery (Cleveland, 
Ohio, 1910). 



C 8 ] 

2 I. Photogravure^ engraved by Charles B. Hall 

Engraved from the painting by Stuart. 
Height, 6 inches; width, 4^ inches. 

With facsimile autograph. Inscribed : " Engraved by Chas. B, 
Hall. N. Y." Published in Genealogical- Biographical Histories 
of the Families of Stevens, Gallatin and Nicholson, by Byam 
Kerby Stevens (New York : National Americana Society, 1911). 

2 J. Photogravure 

Made from a photograph of the painting by Stuart. 
Height, 5% inches; width, 4'Vi6 inches. 

Published in this book. Inscribed: " Albert Gallatin | by Gil- 
bert Stuart." 

3. Artist: REMBRANDT PEALE 
Oil, on canvas. 

Head and shoulders, facing to left. The coat is dark, 
as is the background; the neckcloth is white. 
Height, 22>% inches; width, 19^ inches. Oval. 
Property of city of Philadelphia. 

The picture hangs in Independence Hall. It was bought at the 
sale of the Peale Museum, held in Philadelphia in 1854. 
I am greatly indebted to Mr. Horace Wells Sellers, of Phila- 
delphia, for sending me the following information from the 
unpublished journals of his ancestor, Charles Willson Peale. 
Mr. Sellers informs me that he owns Rembrandt Peale's copy 
of the sale catalogue of 1 854 and in it the portrait of Gallatin is 
checked ofl' as being by him. Mr. Sellers writes me as follows : 
" In January 1 805 Peale visited the city of Washington in com- 
pany with his son Rembrandt who had recently returned from 



[9] 

his studies abroad and Peale states that he desired to introduce 
him at the capital in the hope of securing some business in his 
profession of painting. He also desired to secure portraits of 
some of the public officials for his collection. In his autobio- 
graphical notes based on the journals he refers to this occasion 
stating that his son Rembrandt painted the portrait of Presi- 
dent Jefferson while he (the father) ' looked over his shoulder 
to criticize such parts as he wanted improved. This excellent 
portrait is in the museum. He (Rembi-andt) also painted the 
portraits of Mr. Gallatin and Mr. Finley, very fine portraits 
for the museum.' It appeai-s that the portrait of Gallatin was 
painted after Charles Willson Peale left Washington to visit his 
brother-in-law Col. Nathaniel Ramsey near Baltimore and it 
is in this connection that he notes in the journal references to 
Rembrandt's work : ' I left him to paint the portrait of Mr. 
Gallatin who had promised me to set.' This he also refers to 
in a letter written about the same time, dated Feb. 4, 1 805, to 
his son Reubens Peale who was then manager or curator of the 
museum in Philadelphia, namely : ' I left Rembrandt to finish, 
I should rather have said, to begin and finish a portrait of Mr. 
Gallatin who had promised to give Rembrandt a setting be- 
tween ten and twelve today.' This letter is of interest as fixing 
the exact date of the painting." 

iRembrandt Peale (1778-1860) was a son of Charles Willson 
Peale, the American fiainter . He studied in London under Benja- 
min West. He fiainted portraits of distinguished men, which are 
held ill high esteem, for his father's museum in Philadelphia. '\ 

3 A. Engraving o?i steely ^z/ H. B. Hall 

Engraved from the portrait by Peale. 
Height, 4 inches ; width, 3^ inches. 

With facsimile autograph. Inscribed : " Etch'd [sic] by H. B. 



C ,0 ] 

Hall from Original in the State House Phila 1870." Vignetted . 
The engraver has given him a thick head of hair. 

3 B. Photogravure 

Made from a photograph of the portrait by Peale. 
Height, 5% inches; width, A-% inches. 

Published in this book. Inscribed : "Albert Gallatin | by Rem- 
brandt Peale." 

4. Artist: THOMAS GIMBREDE 

Miniature. 

Head and shoulders; profile, to right. 

\_ Thomas Gimbrede ivas born in France in 1781. He came to 
A7nerica, to follcnv his firofession as miniature /lainter, in 1802. 
F}'om 1819 until his death, in 1832, he was drawing master at 
the West Point Military Academy. He was well knvivn as an en- 
graver.^ 

4 A. Stipple engraving., by William R. Jones 

Engraved from the miniature by Gimbrede. 
Height, 4^ inches ; width, 3)^ inches (plate mark, 
7>^ x5). 

Inscribed : " T. Gimbrede pt. W. R. Jones sc. | Albert Galla- 
tin Esqr : " It is catalogued in David McN. Stauffer's American 
Engravers upon Copper and Steel (Grolier Club, New York, 
1907). Engraved about 1803. 

[ William R. Jones was an American ; his home was in Phila- 
delfihia.'\ 



C 11 3 

5. Artist: UNKNOWN 

Silhouette. 

Bust portrait, facing to right. 

Height, \% inches; width, \% inches. 

Property of Albert Gallatin, New York. 

This silhouette was cut in 1806. 

6. Artist: UNKNOWN 

Bas-relief miniature, modeled in pale red wax. 

Head, seen in profile, facing to left. 
Height, 2>% inches; width, I'^/ie inches. 
Property of New York Historical Society. 

George M. Miller made a wax miniature of Albert Gallatin 
which he exhibited at the Pennsylvania Academy of Fine Arts 
in 1813. This may be the one that is here catalogued. 

7. Artist: HENRIETTE RATH 

Miniature, in oil. 

Half-length (nearly), seated, facing to left. 
Height, 3^ inches; width, 2^ inches. 
Property of Madame Eugene de Bude, Geneva. 

Signed: Rath, 1815. Painted in Geneva. 



8. Artist: Madame MUNIER-ROMILLY 

ai. 

Half-length, seated, facing to right. The sitter holds 
a roll of manuscript in his left hand. 
Owned in Geneva (private collection). 

8 A. Half-tone Engraving 

Engraved from a photograph of the painting by 

Munier-Romilly. 

Height, 4 inches; width, 37i6 inches. 

Reproduced in A Great Peace Maker, the Diary of James Gal- 
latin (London and New York, 1914). 
See note on this picture in Introduction, page xiii. 

9. Artist: UNKNOWN 

Bas-relief mi?iiature, modeled in white wax. 

Head and shoulders, facing to left. 
Height, 3 inches; width, 2 inches. 
Property of University of Geneva. 

Number 261 in catalogue of Bibliotheque Publique et Univer- 
aitaire de Geneve (Geneva, 1912). 

10. Artist: JOHN WESLEY JARVIS 

Pencil. 

Head and shoulders, nearly full-face. 
Height, 4^ inches; width, 3^ inches. Oval. 
Property of Albert Gallatin, New York. 



C 13 ] 

Drawn in 1825. 

\^John Wesley Jarvis (1780-1834 or 1839) was a ivell-known fior- 
trait painter of his day. He was an American, of English extrac- 
tion. '\ 

10 A. Photogravure 

Made from the drawing by Jarvis. 
Height, 3 3^ inches; width, 2^ inches. 

11. Maker: ANTHONY, EDWARDS AND 
COMPANY 

Daguerreotype . 

Head and shoulders, facing to left. 

Height, 2^ inches; width, 2^ inches. Oval. 

Property of New York Historical Society. 

The case is inscribed "National Miniature Gallery, 247 Broad- 
way." The New York Oity Directory for 1845 and 1846 con- 
tains this entry : "Anthony, Edwards Sc Co., National Minia- 
ture Gallery, 247 Broadway." 

1 1 A. Engraving on steel 

Engraved from the daguerreotype by Anthony, Ed- 
wards and Company. 

Height, \% inches; width, \% inches. Oval, 
vignetted. 

Engi-aved in 1862 by the American Bank Note Company, New 
York, for a $500 United States Government legal tender note. 



[14] 
11 B. E72 graving on steel 

Engraved from the daguerreotype by Anthony, Ed- 
wards and Company. 
Height, 15/16 mches; width, \yi inches. 

Used on cheques of Gallatin National Bank, New York. Oval, 
with a floral border. 

Also used on stock certificates of Gallatin National Bank, New 
York. Rectangular, with fancy border. Height, iX inches; 
width, \y& inches. 

There is a proof surrounded by a border of parallel lines ; in- 
scribed : " Rawdon, Wright, Hatch & Edson, New York." 
This firm was one of the constituent firms forming the original 
American Bank Note Company. 

11 C. Engraving on steel, by Charles Schlecht 

Based on the daguerreotype by Anthony, Edwards 

and Company. 

Height, 29/16 inches; width, l'Vi6 inches. 

Printed at Bureau of Engraving and Printing, Washington. 
Used on a $50,000 bond issued in 1876 and on an interest 
cheque for consols of 1 930, issued in 1891. Engraved in 1 874. 
One proof is inscribed "Albert Gallatin" in large letters, as 
well as in small. Another proof is inscribed " Secretary of the 
Treasury 1802 to 1814." 

11 D. TVood Engraving, by W. Roberts 

Partly based on the daguerreotype by Anthony, 
Edwards and Company. Head and shoulders. 
Height, 2V16 inches; width, V^jib inches. 



C >5 ] 

With facsimile autograph. Engraved from a drawing by Wil- 
liam Momberger. Signed "M." Published in Cyclopaedia of 
American Literature^ by E. A. and G. L. Duyckinck ; vol. i, 
p. 511 (1877). A proof of this engi-aving, without Gallatin's 
autograph or engraver's name, is in the Print Department of 
the New York Public Library. 

11 E. Crayon Ih'aiving^ by Kurtz 

Drawn from the daguerreotype by Anthony, Ed- 
wards and Company. 
Property of Frederic W. Stevens, New York. 

A half-tone reproduction of this forms the frontispiece to An- 
cestry of Albert Gallatin a7id of Hannah Nicholson (New York, 
1916). 

1 1 F . Engraving on steel 

Based on the daguerreotype by Anthony, Edwards 

and Company. 

Height, 3^ inches; width, 2% inches. Vignetted. 

With facsimile autograph. Engraved by American Bank Note 
Company, New York, for The Life of Albert Gallatin^ by Henry 
Adams (Philadelphia, 1880). The plate was later used in 
Proceedings of the Third Annual Convention of the Pennsyl- 
vania Bankers' Association (Philadelphia, 1898). 

11 G. Line Engraving 

From a drawing based on the daguerreotype by 
Anthony, Edwards and Company. 
Height, 2^ inches; width, 2% inches. 



C 16] 

With facsimile autograph. Published in Magazine of Ameri- 
can History, vol. xxix, p. 428 (1893). 

1 1 H . Liiie Engraving 

From a drawing based on the daguerreotype by 
Anthony, Edwards and Company. 
Height, 1% inches; width, \]4, inches. 

With facsimile autograph. Published in Appleton's Cyclopaedia 
of American Biography, \o\. ii, p. 5 78 (New York, 1898). 

111. Line Engraving 

From a drawing based on the daguerreotype by 
Anthony, Edwards and Company. 
Height, lyi inches; width 1% inches. 

With facsimile autograph. Published '\uA History of the Ameri- 
can Nation, by Andrew C. McLaughlin (New York, 1899). 

1 1 J . Chromo-lithograph 

Based on the daguerreotype by Anthony, Edwards 
and Company (?). 

Used on the inside cover of box containing the Albert Galla- 
tin cigar (made in the United States about 1900). 

11 K. Lithograph 

Based on the daguerreotype by Anthony, Edwards 

and Company. 

Height, \% inches; width, l7i6 inches. 

With facsimile autograph. On a post-card entitled "The 100 
Years Peace | 1814-1914 | Treaty of Ghent | Head of the 



[ >7 ] 

American Mission." Produced by Carl Hentschel, London, 
1914. 

11 L. Engraving on steel, by George F. C. Smillie 

Partly based on the daguerreotype by Anthony, 
Edwards and Company. Head and shoulders, fac- 
ing to right. 
Height, l"/i6 inches; width, 17/i6 inches. 

Engraved by Bureau of Eng-raving and Printing, Washington, 
in 1 9 1 6. It is planned to use it on a $50,000 one year Treasury 
Note. This item is described from a proof. 

12. Maker : CHILTON AND COMPANY 

Daguerreotype. 

Half-length (nearly), facing to left. 

Chilton and Company were located at 281 Broadway, New 
York. Before going into business for himself Chilton had been 
a partner in the firm of Anthony, Edwards and Chilton, at 247 
Broadway (see The New York Business Directory for 1 844 and 
1845). 

12 A. Engraving on steel, by A. L. Dick 

Engraved from the daguerreotype by Chilton and 
Company. 

Height, 4% inches; width, 3 "5/16 inches. The cor- 
ners are cut oif. 

Inscribed: " Engraved by A. L. Dick from a Daguerreotype 
by Chilton. | Facsimile autograph | Engraved for the U. S. 
Magazine & Democratic Review | J. & H. G. Langley, New 
York." 



C 18 ] 

Published in United States Magazine and Democratic Review 
(New York), June, 1843. 

Reprinted for The American Portrait Gallery, part 5 6, sup- 
plement 16 (New York, 1877 (?)). 

12 B. fVood Engraving [^signed "^ "] 

Based on the daguerreotype by Chilton and Com- 
pany. Head and shoulders. 
Height, 37/16 inches; width, 3Vi6 inches. 

Published in Harper' s Magazine (New York), vol. 44, p. 490 
(1872). 

12 C. Wood JEngraving, bi/ J.W . Orr 

Based on the daguerreotype by Chilton and Com- 
pany. From a drawing by Samuel Wallin. 
Height, 49/16 inches; width, 3% inches. 

12 D. JVood Engraving 

Based on the daguerreotype by Chilton and Com- 
pany. 
Height, 2 '5/16 inches; width, 1^ inches. 

Published in Harper's Encyclopaedia of United States History, 
vol. iv, no page number (New York and London, 1901). 

12 E. Half-tone Engraving 

Based on the daguerreotype by Chilton and Com- 
pany. From a wash drawing. 
Height, 4 inches; width, 3 inches. 



C 19 D 

With facsimile autograph. Published in Woodrow Wilson's 
History of the Amtrican People, vol. iii, p. 144 (1902). 

12 F. Half-tone Engraving 

From the steel engraving of the daguerreotype by 
Chilton and Company (12 A). 
Height, 4^ inches; width, 2>% inches. 

Published in History of the United States of America, vol. vii, 
p. 3484, by John C, Ridpath (Washington, 1906). 

12 G. Half-tone Engraving 

From the steel engraving of the daguerreotype by 
Chilton and Company (12 A). Head only. 
Height, 2% inches; width, 2% inches. Round. 
Published in above book (12 F), vol. viii, p. 3596. 

13. Artist: ALONZO CHAPPEL 

Oil. 

Full-length, seated in arm-chair; full face. He holds 
his beaver hat and walking-stick. 
Formerly owned by late publishing company of 
Johnson, Fry and Company, New York. 

What appears to be a photograph of the head of this portrait is 
in the Print Department of the New York Public Library. The 
cane, how^ever, is held much higher in this photograph than in 
the engraving made from the painting (see next item) . Height, 
l7« inches; width, I'^/is inches. Published by E. Anthony. 
Negative from Brady's National Portrait Gallei~y. Copyrighted 
in 1861 by M. B. Brady. 



[20 ] 

13 A. Engraving o?i steel 

Engraved from the painting by Chappel. 
Height, 7/4 inches; width, 5/4 inches. 

With facsimile autograph and a long inscription. Engraved for 
Natio7ial Portrait Gallery of Eminent Americans (New York, 
1862). 

14. Artist: WILLIAM H. POWELL 

Oily on canvas. 

Half-length (nearly) , seen almost full-face. The coat 

is black, the background dark. 

Height, 30 inches; width, 25 inches. 

Property of New York Historical Society (painted in 

1843 and presented by the artist). 

\_William H. Pmvell (1823-1879) was born in J^env York, where 
he died. He was a /lu/iil of Henry Inman.'\ 

15. Artist: EDW^ARD D. MARCH ANT 

Oily oji canvas. 

Half-length, facing to left. The coat is black, the 
background dark. 

Height, 29% inches; width, 24^ inches. 
Property of Albert Eugene Gallatin, New York. 

Signed: E. D. Marchant. 

This picture was shown at the Anglo-American Exposition, 
London, 1 9 1 4, a loan from James Francis, Count de Gallatin. 
The head in this picture, although reversed, is almost identical 
with the head in the porti^ait by Munier-Romilly (No. 8). Pos- 
sibly it was painted from a photograph of this painting. 



The name and address of the dealer who sold the canvas is on the 
back; examination of New York city directories discloses the 
fact that this dealer carried on business at the address given 
from 1844 to 1853. 

[Edward D. Marchant (1806-1887) nvas an American fiainter . 
He settled in Philadelphia zn 1845 andfiainted many portraits there, 
ji portrait by him of John Quincy Adams, painted from life, is 
in the JVew York Historical Society.^ 

16. Artist: JAMES WHITEHORNE 

Oil {or a drawing?). 

A view of the United States Senate Chamber. Gal- 
latin is seen in the gallery, the third figure to the 
right of the chandelier, in the first row. 

\_ James Whitehorne was an American ; he was born in 1803.] 

16 A. Engraving on steel., by Thomas Doney 

Engraved from the painting or drawing by White- 
horne. 
Height, 27 inches; width, 3634 inches. 

Inscribed: "Designed by J. Whitehorne, N.A. Engraved by 
T. Doney | United States Senate Chamber." The plate was 
made about 1845. 

In his work on American engravers Stauffer speaks of Doney 
as being a " capital engraver." 

16 B. Lithograph 

Made from the above engraving by Doney. 
Height, 6^ inches; width, 15^ inches. 

Inscribed : " Key to the Engraving of the U.S. Senate Cham- 
ber." 



C 22 ] 

17. Artist: DANIEL HUNTINGTON 
Oil, on canvas. 

The portrait shows the sitter's head and shoulders 

facing to left. The coat is black and the background 

is dark. Based upon the daguerreotype by Anthony, 

Edwards and Company. 

Height, 27 inches ; width, 23 inches. 

Property of Albert Eugene Gallatin, New York. 

Signed : D. Huntington. 

Extract from a letter written A. E. Gallatin in 1 902 by Daniel 
Huntington concerning this portrait: "The first portrait of 
your great-grandfather Albert Gallatin is the one your family 
have. ... It was painted with a clear memory of his appear- 
ance and his expression, very soon after his death. ... I had no 
sittings for the portraits, but my memory of him was vivid, 
having often seen him in life." 

[Daniel Huntington (1816-1906) was the author 0/ genre, re- 
ligious and historical pictures besides his portraits, iifion nvhich his 
fame as an artist chiefly rests. He was born in J\/'ew York, and was 
for many years the president of the National Academy^ 

17 A. Oil, on canvas, by Daniel Huntington 

A replica, with slight variations, of foregoing por- 
trait. 
Property of New York University. 

Signed: D. Huntington, 1883. 

18. Artist: DANIEL HUNTINGTON 

Oil, on canvas. 

Half-length, seated at a table; his left hand rests 



upon an open book. His coat, which is trimmed 
with brown fur, is of a greenish-black colour. The 
table is covered with a rug. The painting of the 
head is based upon the daguerreotype by Anthony, 
Eld wards and Company. 
Height, 50 inches; width, 40 inches. 
Property of Frederic Gallatin, New York. 

Painted in 1897-98. 

18 A. Oz7, on canvas^ by Daniel Huntington 

A second version, but not a copy, of the foregoing 
portrait. The accessories are not quite the same. 
Property of the Chamber of Commerce of the State 
of New York. 

18 B. Half-tone Engraving 

Engraved from a photograph of the above portrait 
by Huntington. 

Height, 11% inches; width, 9% inches. 
Published in New York Herald^ 21 May, 1899. 

18 C. HalJ-tone Engraving 

Engraved from a photograph of the above portrait 

by Huntington. 

Height, 5Vi6 inches; width, 4 inches. 

Published in Bulletin of the Chamber of Commerce of the State 
of New York, June, 1909. 



C 24 ] 

19. Artist: DANIEL HUNTINGTON 

Of/, on canvas. 

Half-length (nearly), facing to left, looking down. 
His chin rests in his left hand. His coat is brown ; 
the background is a dark neutral colour. 
Height, 30 inches; width, 25 inches. 
Property of Ehrich Galleries, New York. 

Signed: D. Huntington. 

The picture is unfinished. Probably painted about 1907. 

20. Artist: MATTHEW WILSON 

Oi/, on canvas. 

Three-quarters length, seated, facing to left. The 
sitter's clothes are black; he is seated before a deep 
maroon curtain. The head is copied from the da- 
guerreotype by Anthony, Edwards and Company. 
Height, 50 inches; width, 40 inches. 
Property of Treasury Department, Washington. 

Painted in 1879. 

\_Matthenv Wilson (1814-1892) fiainted a portrait of Abraham 
Lincoln two weeks before he was assassinated.^ 

21. Artist: UNKNOWN 
Marble Bust. 

In Capitol Building, Harrisburg, Pennsylvania. 



c 25 :i 

22. Artist: A. FORRESTIER 
Oz7, on canvas. 

A painting showing the signing of the Treaty of 
Ghent. Gallatin is the central figure. 
Height, about 20 inches; width, about 27 inches. 
Painted in 1914 and exhibited that year in London . 

22 A. Photogravure 

Made from a photograph of the painting by A. For- 

restier. 

Height, 16^ inches; width, 24 inches. 

Inscribed below : "A Hundred Years' Peace," etc., and above: 
"Copyrighted 1914 in London and Washington by the Fine 
Arts Publishing Company," etc. 

22 B. Rotogravure 

Made from a photograph of the painting by A. For- 

restier. 

Height, 8^ inches; width, 14^ inches. 

Published in New York Times, 14 February, 1915. 



INDEX 

[ The numerals refer to fiages'\ 
ARTISTS 

Anthony, Edwards and Company, xii, 13. 

Canova, 5. 

Chappel, Alonzo, xii, 19. 

Chilton and Company, xii, 17. 

Doney, Thomas, 21. 

Dick, A. L., 17, 18. 

Forrestier, A., 25. 

Gimbrede, Thomas, xii, 10. 

Hall, Charles B., 8. 

HaU, H. B., 9, 10. 

Huntington, Daniel, xii, 22, 23, 24. 

Jarvis, John Wesley, xii, 12, 13. 

Jones, William R., xii, 10. 

Kurtz, 15. 

Marchant, Edward D., 20, 21. 

Orr, J.W., 18. 

Peale, Rembrandt, xi, 8, 9. 

Powell, William H., xii, 20. 

Rath, Henriette, xi, xii, 11. 

Roberts, W., 14, 15. 

Romilly, Munier-, xiii, 12. 

Schlecht, Charles, 14. 

Sharpies, James, xi, 3, 4. 

Smillie, George F. C, 17. 

Stuart, Gilbert, xi, 4, 5. 



c 28 :i 

Vanderlyn, John, xiii. 
Whitehorne, James, 21. 
Wilson, Matthew, 24. 

ARTISTS UNKNOWN 

Lithograph after Anthony, Edwards and Company, 16, 17. 

Marble bust, 24. 

Miniature in red wax, xii, 11. 

Miniature in white wax, xii, 12. 

Silhouette, xii, 11. 

Steel engravings after Anthony, Edwards and Company, 13, 

14, 15, 16. 
Steel engraving after Alonzo Chappel, 20. 



^^- FIFTY COPIES PRINTED DURING FEBRUARY, 1917, BY 
D.B.UPDIKE, THE MERRYMOUNT PRESS, BOSTON, U. S. A. 



LIBRARY OF CONGRESS 



011836 585 9 § 



